Generalhttp://hdl.handle.net/10453/3032015-03-31T21:43:47Z2015-03-31T21:43:47ZThe ethical journalist: oxymoron or aspiration?Joseph, SAhttp://hdl.handle.net/10453/194212015-03-13T02:52:40Z2011-01-01T00:00:00ZThe ethical journalist: oxymoron or aspiration?
Joseph, SA
Conway-Herron, J; Costello, M; Hawryluk, L
Year after year, Australian newspaper journalism cannot seem to make it out of the bottom four of the thirty most distrusted professions, pipped only by car salesmen, advertisers and estate agents. Taking an historical perspective of âpublic interestâ and âthe publicâs right to knowâ, this paper will attempt to evaluate the distinction and gravity of both tenets, focussing on why they can have the effect of diluting ethical codes, if misused. The quasi-professional nature of journalism practice lends itself to ethical codes rather than legislative regulation. Accordingly these codes are largely accountable to no one â except perhaps the individual practitioner â and many codes of ethics and practice in the Western developed nations contain an âout-clauseâ in the name of public interest. This paper seeks to investigate these âout-clausesâ, and discuss the oft-quoted allegation that these clauses place journalists above the law. In light of this, I will conclude that in a tertiary setting, and ideally in a professional setting, what must be emphasised side by side with an ethical practice is an individual moral practice, all too often separated philosophically within the professional and industrial spheres.
2011-01-01T00:00:00ZThe writing cure?: ethical considerations in managing creative practice lifewriting projectsJoseph, SARickett, Chttp://hdl.handle.net/10453/167202015-03-13T02:24:42Z2010-01-01T00:00:00ZThe writing cure?: ethical considerations in managing creative practice lifewriting projects
Joseph, SA; Rickett, C
Joseph, S; Rickett, C
The autobiographical turn in literary studies has increasingly placed value on selfrepresentation as a strategic means of reclaiming voice, identity and agency. By and large, the narrating 'I' is circulated and read as a storied performance/product which empowers the writer. Typically such texts are often ones that rehearse, record and expiate individual trauma, and also produce a set of readings that textually frame the work as 'therapeutic'. There is a growing selection of texts which narrativise personal trauma now being set for literary examination in tertiary syllabi. Concurrent to the formal reading of trauma texts in the context of literary studies is the narrative impulse to repackage traumatic experience as autobiographical process/literary output within creative practice higher degrees. This paper seeks to interrogate some of the ethical concerns that arise from students drawing on personal trauma in creative writing contexts for the production of literature that is to be formally supervised and examined. How is the potential risk of re-traumatisation of the student, and vicarious traumatisation of the supervisor/lecturer, managed? If higher degrees are providing an emergent space for catharsis, 'unofficially' offering writing as a therapeutic mode in creative practice, what are the implications of the supervisor/lecturer moving from a role of artistic and scholarly critic, to one of bearing witness? And in this newly formed therapeutic alliance, does an academic need more skills than they have developed in simply delivering a writing or literary curriculum? And what professional frames of support, if any, are in place to sustain both the student and the academic throughout the process? Without well-established professional support and guidelines, is commodifying trauma in order to gain a degree, and or a literary output, ethical professional practice?
2010-01-01T00:00:00ZDislocated Sound: A Survey of Improvisation in Networked Audio PlatformsMills, RHhttp://hdl.handle.net/10453/167172015-03-13T02:27:02Z2010-01-01T00:00:00ZDislocated Sound: A Survey of Improvisation in Networked Audio Platforms
Mills, RH
Beilharz, K
The evolution of networked audio technologies has created unprecedented opportunities for musicians to improvise with instrumentalists from a diverse range of cultures and disciplines. As network speeds increase and latency is consigned to history, tele-musical collaboration, and in particular improvisation will be shaped by new methodologies that respond to this potential. While networked technologies eliminate distance in physical space, for the remote improviser, this creates a liminality of experience through which their performance is mediated. As a first step in understanding the conditions arising from collaboration in networked audio platforms, this paper will examine selected case studies of improvisation in a variety of networked interfaces. The author will examine how platform characteristics and network conditions influence the process of collective improvisation and the methodologies musicians are employing to negotiate their networked experiences.
2010-01-01T00:00:00ZWords and WorldMacris, Ahttp://hdl.handle.net/10453/120872015-03-13T02:09:06Z2008-01-01T00:00:00ZWords and World
Macris, A
Webb, J; Williams, J
One of the paradoxes of any artistic process is the transformation of the intensities of thought and sensation into the empirical fixities of form. For novelists, the sentence, paragraph and chapter are the standard textual forms that represent the richness of character, setting and event, and the insights into human nature they embody. In this paper I draw on approaches from literature, painting and poststructuralist philosophy to investigate the process by which words become worlds
2008-01-01T00:00:00Z